By Robert Louis Stevenson
* ALL 12 Novels and all up to date with concise introductions, giving beneficial contextual information
* a few of the texts are illustrated with the unique Victorian art, together with TREASURE ISLAND and DR JEKYLL AND MR. HYDE
* each brief tale and brief tale collection
* entrance no-nonsense contents desk permitting effortless navigation round the mammoth file
* Texts organised into scholarly chronological order and divided into literary forms
* the total poetry and plays
* all the collaboration works with different authors
* Even contains the whole letters, with their contents table
* 1000s of pictures in terms of Stevenson’s lifestyles and works
* The textual content has been conscientiously formatted to your enjoyment
* a number of photos relating to Stevenson's existence and works
* at the least 3 BONUS biographies – discover Stevenson’s adventurous existence by way of modern biographers – all with their very own distinct contents tables
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Additional info for Complete Works of Robert Louis Stevenson
His lyrical poetry was praised for its simple, pastoral qualities, but his prophetic works were fairly uniformly dismissed as incomprehensibly wild. His great invention of illuminated printing, uniting designs and text on the same etched page, provided a vehicle in which his strange verses could make their way into the world under cover of the beauty of the designs. To most of Blake’s contemporaries, his poetry evidently seemed interesting but absurd; scarcely any could have conceived of him as a great poet.
Roe, in Blake’s Illustrations to the Divine Comedy (1953), surveys and reproduces the great Dante series competently, but rather blurs the issue by reading the designs frequently as illustrations of Blake’s own myth as well as Dante’s. Digby, Symbol and Image in William Blake (1957), attempting to apply modern psychology to Blake’s art. Perhaps the most satisfactory book on Blake’s visual work as a whole is Sir Anthony Blunt’s The Art of William Blake (1959), a series of lectures which yet brings the erudition of a great art-historian to bear upon Blake, placing him firmly in the European iconographic traditions.
Phillips (1973), which contain important essays by Frye (Pinto), Butlin (Rosenfeld), Miner (Rosenfeld), Paley (Curran and Wittreich), and Bindman (Paley and Phillips). Such anthologies have the advantage occasionally of collecting in one place the most recent advances of scholarship or of critical fashion. NOTES 1 Such reputation as Blake had was almost exclusively British; a few German readers may have seen Crabb Robinson’s 1811 article in Vaterländisches Museum (No. 36), but no known comments in North America appeared until after his death.